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The Power of Protest (Emaze)

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The Power of Protest (Emaze) Project: Request for Submission Prepared for: The STMS English / Writing Lab: New Media Designers! Prepared by: C. Hazeltine, *Faux Director of New Projects, Musical Instrument Museum, USA October 15, 2017 Proposal number: 123-4567.89-10 Musical Instrument Museum USA 4725 E. Mayo Boulevard, Phoenix, AZ. 85050 T 480.478.6000 URL: www.mim.org This document contains sensitive, confidential, and trade secret information and may not be disclosed to third parties without the prior written consent of Christopher Lawrence Hazeltine © The Savvy Classroom INSTRUCTIONS: Read the attached press release and following information Musical Instrument Museum 4725 E. Mayo Boulevard, Phoenix, AZ. 85050 JANUARY 19, 2018 FOR IMMEDIATE RELEASE Press Release: Request for Submissions PHOENIX, ARIZONA - Situated in the heart of the Valley of the Sun, The Musical Instrument Museum, (MIM), is a unique find in the world of music and musical instruments. Established in April of 2010 by Robert J. Ulrich, former CEO and chairman of the Target Corporation, The MIM prides itself in being the largest museum of its kind in the world. The MIM’s contemporary architecture, with its distinct style that evokes the landscape of the desert Southwest, covers approximately 200,000 square-feet of light-filled galleries, featuring more than 15,000 musical instruments and associated objects, including examples from nearly 200 countries and territories, representing every inhabited continent. Using state-of-the-art audio and video technology to enhance most displays, visitors experience the world of music and music-makers in ways that are unique and memorable. The creation of the Musical Instrument Museum, as Robert Ulrich states, fulfills the goal “to illuminate what is unique about cultures, and also what is shared and universal. MIM provides an experience like none other, allowing musical novices and experts, tourists and scholars, children and grandparents to hear, see, and feel the powerful and uniting force of music in an entirely new way.” The month of May is Protest Song Month. The MIM has partnered with the presentation software organization Emaze [app.emaze.com] and with public school students in the local Phoenix area in order to create a new and provocative, year-long exhibit called: The Power of Protest. This exciting, new exhibit is slated for public viewing in the following year, and will become a traveling exhibit after its run at the MIM. In the interim, the MIM is requesting media presentation submissions from local students on a single protest song, national or international, to be included in the exhibit. ### This document contains sensitive, confidential, and trade secret information and may not be disclosed to third parties without the prior written consent of Christopher Lawrence Hazeltine © The Savvy Classroom Objective By its very definition, a protest song is one that is associated with a movement for social or political change, or is one that is directly connected to a current (social) event through commentary. They are songs that are frequently situational and are understood directly by their significant intellectual context. In other words, the song (and singer) in engaged in political or social commentary. Protest Songs are universal. You have been commissioned create an Emaze media presentation on a single protest song. Since all protest song have a strong message or argument, we desire a presentation that focuses on the Rhetorical Triangle of Logos, Ethos, Pathos, and Kairos of the song. We would also like an analytical evaluation of the song’s effectiveness as an argument. Presentation Specifics Since this exhibit is in partnership with Emaze, your presentation must be in that format. What is Emaze? Emaze is an online presentation platform built on html5 technology. Users can create, manage, and share presentations through a cloud-based SaaS system. Emaze offers a variety of presentation templates including formats using 3D animations and video backgrounds to make online presentations stand out. Emaze was officially established in 2009 by co-founders Motti Nisani and Shai Schwartz. If we select your Emaze presentation, it will be added to our exhibit using our Sennheiser guidePORT Headphone System. How Does The Guideport Headphone System Work At MIM? MIM has approximately 1,800 Sennheiser guidePORT compact receivers with headphones available to guide guests through the museum. These audio guides—completely automatic and with high audio quality— provide the sound track for videos at more than 300 sites around the museum. Hidden identifiers are installed at exhibits that cue the audio guides automatically to exactly the right “sound track.” With guidePORT’s wireless technology, every visitor has his/her own personal tour guide through the museum. As guests approach a display, they will hear music and see video displayed on high-resolution flat screens. Design Requirements Considering that we are creating an exhibition that will not only entertain but will educate the public for more than a year, we have very exacting presentation requirements that cannot be changed. This document contains sensitive, confidential, and trade secret information and may not be disclosed to third parties without the prior written consent of Christopher Lawrence Hazeltine © The Savvy Classroom In order to make a more informed decision, we will expect to see the following in your presentation: Exhibit Requirements § Your presentation will be developed, designed, and published on Emaze [https://app.emaze.com]. § Your presentation must be 6-10 minutes in length, not including the actual protest song. § Your presentation must have a TITLE SLIDE that includes a TITLE along with this heading: THE POWER OF PROTEST: A RHETORICAL ANALYSIS OF THE SONG ___________ AS SUNG BY ___________ § Your presentation must have a chapter on the history or situation leading up to the writing of the protest song. § Your presentation must have video / audio of the protest song, including the artist and date of release. § Your presentation must have a chapter on the analysis of the song’s argument / message (Toulmin Analysis). § Your presentation must apply the SOAPSTone analysis of the song. What is the rhetoric of the song (the LOGOS, ETHOS, PATHOS, & KAIROS)? § Each slide in your presentation must have written text that explains that particular slide. § Your presentation must have a chapter with the complete lyrics. § Your presentation must include images or pictures that enhance your text / chapters. Images or pictures may be original photos or drawings. If you use the work of other people (images or pictures) you must use proper REFERENCE citation methods for all non-original images, photos, or pictures. § Your presentation must include at least three (3) credible outside sources to support your analysis in whatever fashion that is required. The sources may support background information, information about the artist, or even information about the genre of music. § A Works Cited (Bibliography) slide citing all of your sources, including YouTube videos, images, and text. This MUST be the LAST slide in your presentation and must be in REFERENCE format. Restrictions Because of the nature of a protest song, it is conceivable – and probable – that you will encounter lyrics of an explicit nature. Keep in mind that all of our exhibits and presentations are for public viewing. Explicit lyrics or images CANNOT be presented to the public. While we don’t want to stifle your creativity, we also do not want a subject matter we cannot publically present. Please consider this Rule of Thumb when writing and designing your presentation: “Would you let your mother or grandmother see it?” This document contains sensitive, confidential, and trade secret information and may not be disclosed to third parties without the prior written consent of Christopher Lawrence Hazeltine © The Savvy Classroom List of Protest Songs Follow is a list of Protest Song to choose from. Again, please be aware that while all of the songs listed are protest song, there may be a select few that would be inappropriate for our exhibit. While multiple versions of these songs exist, all attempts were made to find the most accurate release date of each song. List of Protest Songs (UNKN) = Unknown release date, usually pre-Civil War or earlier. Traditional = folk song, traditional song, or a song with no clear composer. 1. (1911) Bread & Roses, by James Oppenheim 76. (1994) Homophobia, by Chumbawamba 2. (2005) Empire, by Dar Williams 77. (1996) People Of The Sun, by Rage Against the Machine 3. (1970) Ohio, by Crosby, Stills, Nash & Young 78. (2000) Silent Screams, by Halford 4. (1999) Patriotism, by Company Flow 79. (2001) Never Again, by Nickelback 5. (2007) Ranin’ In Paradise, by Manu Chao 80. (2004) Jesus Walks, by Kanye West 6. (2004) No More Weapons, by Steel Pulse 81. (2010) My Faith, My Voice, by Native Deen 7. (1969) Fortunate Son, by Creedence Clearwater Revival 82. (2009) One Tribe, by Black Eyed Peas 8. (1978) Don’t Kill The Whale, by YES 83. (1940) El Aquila Negra, by Cuco Sánchez 9. (1975) The Men Behind The Wire, by Paddy McGuigan 84. (2012) Ain’t Gonna Let Nobody Turn Me ‘Round, by The Roots 10. (1965) Lyndon Johnson Told The Nation, by Tom Paxton 85. (2011) We Are The Many, by Makana 11. (1977) Black Waters, by Jean Ritchie 86. (1965) Amandla Awethu!, Traditional 12. (1988) Behind The Wall, by Tracey Chapman 87. (1985) Sun City, by Steven Van Zandt 13. (2003) 77%, by The Herd 88. (UNKN) As’ Kwaz’ Ukuhamba, Traditional 14. (2006) Wolves In Wolves Clothing, by NOFX 89. (2011) Born This Way, by Lady Gaga 15. (2003) AWOL, by Paris 90. (1961) Where Have All the Flowers Gone, by Pete Seeger 16. (1984) If I Had A Rocket Launcher, by Bruce Cockburn 91. (1990) Lost Woman Song, by Ani DiFranco 17. (1947) No More Auction Block, by Paul Robeson 92. (2003) Power To The Peaceful, by Anti-Flag 18.
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